The 24th ENCATC Annual Conference "Cultural Management Education in Risk Societies - Towards a Paradigm and Policy Shift?!” took place in Valencia, Spain, from 5–7 October, 2016. The event brought together about 160 academics, researchers and professionals from the cultural sector, policy makers, artists and students from over 30 countries. And with a more focused and application oriented program their debates about the new paradigm needed for cultural management and policy to face today’s risk societies could have in fact been very fruitful and inspiring.
"Introduction to International Arts Management", the first book published on this topic in German, deals with the reactions of arts managers in more than 45 countries around the world to globalization and illustrates how arts organizations strive to internationalize not only to increase competitiveness, but also to reach out to an increasingly diverse audience and bring the potential and talent that is inherent in this diversity to the forefront. "Introduction to International Arts Management" strongly advocates for more international transfer and for interdisciplinary networks of academics and practitioners to foster critical discourse about arts management practice and to develop sustainable strategies to deal with increasingly diverse societies.
For years I’ve been an arts manager, an arts board member and an occasional arts management academic. And although there are some great arts management books to both learn from and teach with, they only seldom combine theory and practice, insights of success and failure, and story telling to help people understand how to do their job better. In this series, I introduce a selection of neglected aspects and competencies from my book “The A to Z of Arts Management”. This chapter is about the uncertainty and challenge of running an arts company.
BBC Advertising just published an international in-depth report on ‘millennials’ and the misconceptions surrounding this highly sought after generation. By conducting over 14,000 interviews across 31 countries and seven markets – Australia, Germany, USA, Canada, India, Singapore and South Africa – the report's findings make it easier for marketers in cultural institutions to target the most attractive and commercially receptive segment within that group. The report titled Reaching Affluent Millennials offers a deeper insight into the difference between ‘affluent’ and ‘non-affluent’ millennials and identifies the most valuable segment, ‘The Supercharged’.
For the last seven years MuseumNext conferences have focused on the future of museums and how the sector is forging ahead, showcasing innovative ideas and delivering thought-provoking insight. MuseumNext is a catalyst for innovation, transformation and collaboration in museums, galleries and heritage sites. The European version of MuseumNext will take place in Rotterdam, Netherlands, from June 26th to 28th 2017. The deadline for submission is Friday 6 January 2017.
With the somewhat cryptographic acronym CTM16, the Agenda company organised the Communicating the Museum conference on 12 – 15 July 2016 in Berlin, Germany. As is usual with these conferences, one of their main “raison d'être” – reasons for existing – is the opportunity to inform yourself about the latest developments in a wide ranging of topics – in this case arts communications and fundraising – and to network with like-minded professionals. As such, CTM was able to provide the over 200 participants and 50 speakers from all over the world with plenty of opportunities to do so. All in all, “Communicating the Museum” gave ample food for thought and action to not only museum professionals but other arts institutions as well.
For years I’ve been an arts manager, an arts board member and an occasional arts management academic. And although there are some great arts management books to both learn from and teach with, they only seldom combine theory and practice, insights of success and failure, and story telling to help people understand how to do their job better. In this series, I introduce a selection of neglected aspects and competencies from my book “The A to Z of Arts Management”. This chapter is about love for ones job and why it is important to be more open to the desires and needs of the people you work with and for.
Given the magnitude of challenges facing the arts sector, the need for effective arts managers is growing every year. Similarly, the need for cross-cultural collaboration is as great as ever. Since 2001, the DeVos Institute has brought together arts managers from across the United States and around the world to study fundraising, marketing, financial management and planning. With the move to the University of Maryland, the Institute has revamped a highly competitive fellowship program for arts managers. The Institute’s fellowship program is offered free of charge to arts managers from across the United States and around the world who are selected through a competitive application process. These fellows attend a four-week program in residence at the University of Maryland each spring for three consecutive years. Applications are due to December 1, 2016.
The Dallas Museum of Art (DMA) is committed to knowing its museum visitors better and deepening their connection with the art displayed in its collections and special exhibitions. For over 10 years, the DMA has conducted research using diverse evaluative tools that support the staff in their efforts to better understand the preferences, actions and curiosities of its audiences. Through this increased knowledge, museums gain valuable insight for nurturing relationships between people, art, and museums. This knowledge also leads to increased mission impact in the communities it serves.
This article’s core question is what organizational structures promote functions that are often considered secondary to museums’ scholarly competencies. These operations include revenue generation such as fundraising, meetings and events, museum shops etc. Over the last five decades or so, German friends’ associations have developed organically to fill many of these needs. In the United States, in contrast, museums fulfill these functions themselves, including their membership programs, suggesting an intriguing contrast and lessons to be learned.
Picture: Washington Irving and his Literary Friends at Sunnyside